The Barbican Centre’s sprawling technological celebration that is its 2014 summer exhibition is possibly one of the most exciting exhibitions London currently has to offer. The diversity in content is in part responsible but it is really the almost wholly interactive nature of the display that sets it apart. Arranged in a loosely chronological format, in which you enter through a room of now antiquated technosaur-type devices, the enormous exposition dominates the ground floor and skips down to the 2nd basement for a fully immersive finale. The opportunity to whittle away on an original grey Gameboy is a nostalgic but relatively aging experience, while the breakdown of the sensationalism of Gravity’s and Inception’s creations and CGI feats is astounding to say the least. Through clear curation, a well-defined trajectory of development becomes apparent and makes you realise the staggering rate of progress of the last 40 odd years.
Visually, there were some stunning highlights, such as Chris Milk’s ‘The Treasury Of The Sanctuary’ (pictured above), which has been reproduced with zest all over social media as well as Usman Haque’s Assemblance. Interactive features that involve cameras and digital art cater to the selfie contingent and provide ample fodder for the #digitalrevolution. The latter takes over the final part of the exhibition (there are three sections) and is a full laser display that react to and is manipulated by the visitor. In darkness and smoke-exhumed cloudiness, there is an atmospheric peace about the experience and yet another win for technology.